Indie/Alternative Rock

Week 41: Blossoms- Song from the Wedding Cake

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Blossoms return with their sixth studio album and new theme, “Song from the Wedding Cake”, and it is delicious. You may remember their last album centred on a fibre-glass giant gorilla called Gary; this time, I imagine their backdrop is a giant wedding cake. The songs are uplifting, with funky basslines, catchy melodies, and an all-round good vibe, to brighten these dull autumn days.

The opener ‘Joke About Divorce’ has a catchy chorus, playful lyrics, and an infectious groove that sets the mood from the start. ‘Husband’ has bright keyboards, while ‘Meet Me in Love’ blends shoegaze with disco.

One highlight is the first track I heard on Live Lounge last week, ‘Additional Driver,’ featuring Radlett’s Declan McKenna. I felt Tom and Dec’s vocals complemented each other over a fun, playful song. Dec’s inclusion, who contributed to the writing, didn’t feel forced.

The instrument that stole the show was the bass. An outstanding job by Charlie Salt. His basslines were super funky. ‘Guts’ is a great example of his strong bassline, which gives it a catchy groove. The same goes for ‘Uma Thurman’, but Charlie was joined by sharp guitars over danceable beats.

Of course, as with any album, there are tender moments. Songs like ‘Fall Into You’ and ‘Where Have You Been My Whole Life?’ sprinkle romance, but the record never loses its warmth. The closer, ‘The Deep End’, brings the energy down.

Most of the lyricism focuses on love, marriage, and relationships, quite apt when you look at the title. But as always with Ogden, he adds humour and enough personality to keep it from getting too soppy. Shawn Lee does a great job with the production, letting each instrument shine while keeping that classic Blossoms earworm.

I loved the album’s positive vibe. The band clearly had fun during the sessions. Of course, Blossoms are known for their indie and shoegaze sound, but it was nice to hear funk and disco thrown in to freshen things up.

What a pleasure to listen to from start to finish. The collaboration with Dec was a highlight; the melodies are catchy, and Chaz’s funky basslines are excellent. A record that makes you feel good.

Song recommendations: ‘Additional Driver’, ‘Joke About Divorce’, ‘Guts’

9/10

Week 39: beabadoobee- Pylon

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beabadoobee doesn’t care about making an album for now; she dives headfirst into the alternative/indie sound of the early 2000s. The record is driven by guitars, so that means plenty of distortion, feedback, and fuzzy riffs sit next to her softer vocals to take the edge off. The album may sound nostalgic, but it doesn’t try to copy the past.

On the title track, you hear something quite ethereal before the guitars start to take control. The acoustic is joined by a distorted guitar solo, and then the outro includes feedback over that acoustic strumming before reverb brings it to an end. That sets up the tempo for the rest of the record.

‘Sun Has Set’ quickly follows with a burst of energy. The guitars are loud and raw, giving the album its first sharp burst. ‘Estranged’ is quintessentially 2000s indie, with the guitars that would fool you if you had never heard the song or the artist before.

The guitars remain the main focus on ‘Switchblade’, ‘Write Me a Letter’, and ‘In Motion’ as beabadoobee shifts from soft to bursts of distortion. ‘Memories’ is more reflective, and ‘Radio’ brings the tempo up again with its fuzzy sound and strong guitar riff.

I enjoyed the collaboration with Paramore’s Hayley Williams on ‘Nothing to Prove’. The vocals blend well, and Hayley doesn’t just feel like a guest. She brings value to the track. Other collaborations include Brendan Yates on ‘Powerlines’, and Deftones frontman Chino Moreno on the closer ‘Satellite’.

“Pylon” reminded me of early 2000s indie music. It may have elements of grunge, emo, and ’90s alternative rock, but overall, it has that early-2000s indie, guitar-driven sound. Of course, it isn’t all just loud guitars; it has acoustic parts, ethereal vocals, and tender moments, but the electric guitar is at the heart of it.

That is why I like “Pylon”. It is nostalgic, but her songwriting and vocals make it unique. A lot of solo artists pretending to be rock sound polished, but beabadoobee just gets it. The album has distortion, feedback, fuzz, and is raw. That makes for an authentic listen.

Song recommendations: ‘Estranged’, ‘Sun Has Set’, ‘Pylon’

9/10

Week 37: Kasabian- Act III

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It’s funny that people are still crying about what Kasabian sound like since Serge became the frontman. It happens with every single release. The purists have been crying recently about the song they did with Calvin Harris, which I actually liked quite a bit. “Act III” will definitely piss off the purists, but this is Kasabian now, and for me, they’ve still got it.

Let’s do a mini track-by-track summary:

Quiet on Set Please 1m9: An interesting name, but a pointless interlude.

SOULMATE: The proper opener with a darker, heavier groove.

Hippie Sunshine: That trademark Kasabian swagger and energy.

SUPERPOWERS: I like the rather strange video that matches the surreal psychedelia.

GREAT PRETENDER: A busy track with a big pop chorus.

NOTHING BETTER THAN THIS: Catchy one that’ll work live.

mind palace 2m7: Pointless interlude.

SILVER APPLE EYES: Mood shifter.

THE GURU AND THE CRYPTO TIME MACHINE: Very surreal, but fresh.

npc 3m12: More pointless filler.

GLIDE: Slow.

HYPER//RISING: More heavier Kasabian sound.

SAY YOU (CLOSER): A warm closer.

Of course, you’ll have the usual suspects who bitch and whine that this isn’t the Kasabian they fell in love with, but you know, this is Serge’s band now. I like hearing what mad direction he’s going to send the band in with each song, never mind the albums. Why try and emulate what was done almost a decade ago? Serge is moving the band in his own way, and “Act III” has some of that magic from the previous era to keep the balance.

I’m not fond of interludes, and some experiments miss the mark, but the core songs are catchy, energetic, occasionally surreal, and made for live shows.

It probably won’t satisfy the purists, but they can still enjoy anthems like ‘Fire’, ‘Underdog’, ‘Club Foot ’, etc., if they can open their minds and see the band live. For everyone else, keep enjoying the ride.

Song recommendations: ‘NOTHER BETTER THAN THIS’, ‘HYPER//RISING’, ‘SUPERPOWERS’

8/10

Week 34: Phoebe Bridgers- Lost Weekend

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You have to admire Phoebe Bridgers for trying something different on “Lost Weekend”: a departure from her usual indie-folk into a more atmospheric, ambient soundscape clearly inspired by Bon Iver. The songs are beautifully produced, wrapped in thought-provoking lyrics, and drenched in a dreamy feel. The best examples would be ‘Haunted’, ‘Bobby’ (This being more her conventional sound slightly tweaked), and ‘Still Standing’. Highlights also include ‘Lost Boys’ and ‘I Can’t Wait’.

The new sound may be interesting, but it tempers the album’s energy. The floating production complements the themes of grief and reflection, but the tracks’ space starts to blend too much, and the record feels more meditative than memorable. You won’t feel the energy of her earlier material, and more than likely feel a bit underwhelmed by “Lost Weekend”.

The album is dreamy, beautiful, and ambitious, and definitely a new beginning for Phoebe, but this record is far too quiet if you are looking for something more energetic. I have mixed feelings about whether I like it.

Song recommendations: ‘Still Standing’, ‘Haunted’, ‘I Can’t Wait’

6/10

Week 33: The Reytons- A Love Letter to a Broken Town…

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The Reytons are brimming with confidence on “A Love Letter to a Broken Town…”. They haven’t changed their style since success; they have used it to give the fans what they want. The album is packed with catchy choruses, big riffs, and energy that will get the crowd going in any venue.

Of course, since they first broke through, they have been compared to fellow Yorkshire band Arctic Monkeys, especially when Jonny Yerrell sounds identical to a young Alex Turner, as I discovered from my previous review of the then-unsigned indie band. Unlike the Arctics though, they’re heavier and have a more powerful sound that sets them apart.

Let’s begin by looking at the opener ‘Jukebox’, which is full of nostalgia, working-class pride, and energy. ‘Busker’s Paradise’ tells a great story of a town fading away.

‘Hello, How Are You Today’ has strong energy, but is their most thought-provoking.

Those 3 tracks show the band’s progression, but they still stay true to themselves with their grit, humour, and honesty, which helped their popularity soar.

I loved the record’s consistency. It is hard to choose a favourite, but those 3 tracks I singled out are the best on there for me. However, every track brings value. Actually, I am going to add ‘Best Night of His Life’ because this is going to get the crowds going.

The energy seldom dips, so overall, it is an extremely pleasant listen from the outset. It underlines once more that guitar music is far from dead. The album has bite, heart, attitude, and a loud, guitar-driven edge. I can see it being nominated for the Mercury Prize next year.

Song recommendations: ‘Busker’s Paradise’, ‘Hello, How Are You Today’, ‘Best Night of His Life’

9/10

Week 31: Charli XCX- Music, Fashion, Film

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“Music, Fashion, Film” took me by surprise. I was expecting the usual electronic-influenced sound from Charli XCX, but she tried a bold rock sound. It was very refreshing, despite the album being a bit hit-and-miss.

My recurring issue with her songs is the heavy use of auto-tune. Tracks like ‘2007’, ‘Wink Wink’, and ‘Persona’ are spoiled by it. They all had potential, too. As ‘Magic Metal Montana’. The drum intro reminded me of Blur’s ‘Song 2’, but then the pathetic auto-tune saturates it.

The highlight was ‘SS26 ’, a politically-charged track that captured the album’s energy and confidence. The others were ‘Camera’, ‘I’m Afraid’, ‘Yeah’, and Card Declined’. I’m pretty sure on the latter I heard a hidden track at 2:44.

The closer, ‘No One Lasts Forever’, is something that Phoenix might do, albeit not the melancholic, repeated spoken-word verse on the outro.

Another thing to admire is the artwork. It depicts 3 representatives from the record’s title: John Cale, Marc Jacobs, and Martin Scorsese. Despite the unnecessary use of auto-tune, I liked seeing Charli try something different and try out an in-your-face rock album.

Song recommendations: ‘SS26’, ‘No One Lasts Forever’, ‘Card Declined’

7/10

Week 27: Muse – The Wow! Signal

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I  cannot believe it! I actually like a Muse studio album! They have finally captured some of that explosive energy from their live shows in the studio. Something that has always been missing. Muse are fucking brilliant live, but their records always seem flat. This one finally has a live feel.

My ears pricked up from the intro of ‘The Dark Forest ’; you can feel that energy.  ‘Cryogen’, ‘Hexagons’, and ‘The Sickness in You & I’ have that dramatic Muse sound with huge riffs.

‘Nightshift Superstar’ and ‘Unravelling’ bring something new to the table, with their groovy feel, but it’s still unmistakably Muse.

The album ends on a sci-fi vibe with ‘Space Debris’ and an emotional note.

What I fucking loved about the record was that the songs had that live energy.  They are not suffocated by heavy production. They just let that raw, urgent energy that we experience live take the lead. Fucking at long last. The choruses are as usual stadium-ready, every riff has to be heard with an ever-increasing volume to hear them in all their glory. Those songs mentioned will be embraced by the fans on the tour.

This is one of their best records ever. They have finally realised they can capture a fair bit of their live magic in the studio. Whatever songs are picked for the tour will be absolutely amazing.

Song recommendations: ‘The Dark Forest’, ‘Nightshift Superstar’, ‘Hexagons’

9/10

Week 25: Olivia Rodrigo- You Seem Pretty Sad for a Girl So in Love

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This is Olivia Rodrigo’s most experimental album so far, but I find it a mixed bag. You have energetic tracks that I like like ‘drop dead’, ‘stupid song’, ‘u+me’, where her attitude, catchy hooks and excitement are on full display.

The slower tracks are the ones I’m not fond of. Don’t get me wrong, they sound great, but slow the record’s feel.

I was looking forward to the collaboration with The Cure frontman, Robert Smith, but it just felt flat. Seeing them perform onstage together gave me high expectations, but ‘what’s wrong with me’ was just good on paper than in reality.

I marvelled at her vocals throughout, though. They had a dreamy quality that fit the mood of the album, and even the slow ones were where they shone through, not forgetting her more attitude vocals on the energetic ones.

I found the record was strong in parts, but quite a few songs were forgettable. I admire her for being ambitious, but it didn’t really land.

Song recommendations: ‘u+me’, ‘stupid song’, ‘drop dead’

7/10

Week 5: Louis Tomlinson- How Did I Get Here?

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“How Did I Get Here?” is the third solo album by Louis Tomlinson. It features upbeat anthems and is thought-provoking. It further shows how he has evolved from his days in One Direction with meaningful lyricism and catchy songs.

Let’s now address some of the key tracks:

Lemonade:

Well, if you have not heard this, where have you been? It’s been played heavily across the airwaves. The opener features groove-heavy guitars and an upbeat, summer-vibe melody over breezy pop.

Palaces:

My absolute standout on the record. It’s packed with indie-rock energy, with reflective lyrics that address fame and relationships. You can tell how much indie influences his sound.

Dark Light:

The most emotional track on the album. This acoustic ballad discusses vulnerability, grief and loss.

Imposter:

This one reminded me of Empire of the Sun’s music. It addresses self-doubt and identity over atmospheric soundscapes and pulsating bass.

Sunflowers & Lazy (Two tracks):

Upon hearing these, I had to check to see who the producer was, because I was sure it was Tame Impala’s Kevin Parker. It wasn’t, but they had that bright psychedelic rock feel synonymous with Tame Impala.

Lucid:

The album closes with a gentle yet melancholic soundscape that ties back to the record’s title theme.


I prefer “How Did I Get Here” to his previous album. It shows another confident step forward, with its craft, varied emotions, new soundscapes, and meaningful lyricism. I didn’t see much mainstream pop on display, but indie rock, lo-fi, and psychedelia. Tracks like ‘Palaces’ show that he’s starting to settle as a solo artist. The album is a fine balance of uplifting and reflective tracks that keep the listener interested.

Song recommendations: ‘Palaces’, ’Sunflowers’, ‘Lucid’

8/10

Week 4: Robbie Williams- Britpop

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A track-by-track review with a bonus track thrown in:

Rocket (feat. Tony Iommi):

This punchy, guitar-driven opener is the leading single featuring ex-Black Sabbath lead guitarist Tony Iommi. The track reminds me of Joan Jett and the Blackhearts tracks. It’s raw, full of rock attitude, and has anthemic energy. Tony’s solo is the standout moment.

Spies:

The song has a jangly guitar and is mid-tempo Britpop with nostalgic chords.

Pretty Face:

Didn’t like it. Too poppy for me.

Bite Your Tongue:

An alternative rock track with spoken word.  It may feel odd, but it is playful, adding something different to the album.

Cocky:

Stomping glam-rock energy that’s fun with plenty of swagger.

All My Life:

An Oasis-inspired reflective ballad discussing dreams. Providing one of the  more emotional moments on the record.

Human (feat. Jesse & Joy):

Another reflective ballad.

Morrissey:

Co-written with Take That’s Gary Barlow, this tongue-in-cheek track is about Morrissey’s legacy. It’ll certainly divide opinion. The lyrics also might suggest he’s playing the role of someone in love with
the former Smiths frontman.

You:


Same attributes as ‘Bite Your Tongue’.

It’s OK Until the Drugs Stop Working:

I loved this track, and it certainly provided something different. This reflective, self-aware addressing of his past is Divine Comedy-esque.

Pocket Rocket:

An ethereal and dreamy closer of the standard edition.

G.E.M.B:

I included this track from the deluxe edition because it is my favourite. Robbie’s bold, tongue-in-cheek energy is captured perfectly over sublime indie rock, with his cocksure lyricism. It’s fun, bold, and catchy.

Coda:

“Britpop” is not about reinventing the wheel. It’s Robbie showing off to a sound he loved during the 90s, and that influenced him. The record is catchy, energetic, and fun, with songs that’ll become anthems. The lyricism may divide opinion, but this is one of his best albums to date. The title does what it says on the tin.

Song recommendations: ‘G.E.M.B.’, ‘It’s OK Until the Drugs Stop Working’, ‘Cocky’

8/10